The Paper Kites. Melbourne folk-pop five-piece have been piling up friends online for the past three years or so and are well-nigh flawless in terms of preparing for this first Canadian tour, with a debut LP States and a lovely accompanying video just out that’s quite classy stuff. They’re regarded as particularly warm performers back home, with co-founder Sam Bentley’s guitar picking a highlight. In a tight room like this one, no wonder it’s a sellout. Horseshoe, doors 8:30 p.m.

Midori. One-time violin prodigy Midori Goto is equal parts educator, community activist and performer now. She may have cut back some on the relentless touring schedule that marked her hothouse days, but in mid-career her busyness neatly reflects the versatile and charismatic style she brings to the concert hall. For this latest visit, 31 years removed from her New Year’s Eve debut with the New York Philharmonic, she’s joined by her frequent collaborator, the Turkish-American pianist Ozgur Aydin, for a program that includes, among others, Schubert’s Rondeau brilliant and Mozart’s Violin Sonata No. 25 in F Major. Koerner Hall, 8 p.m.

Destroyer. Vancouver’s Dan Bejar is spreading himself around again. A play he scored, All Our Happy Days Are Stupid, just finished its run here last week; a Spanish-language EP of five songs written by Sevilla indie vet Antonio Luque comes end of this month, and there’s this stripped-back solo show. He’s a good bet any night, writing some of the sharpest, most playful indie rock under this nom de pop, or as a some-timer with the slicker, bouncier New Pornographers. With Pink Mountaintops, the longest-running project from prolific Black Mountain boss man Stephen McBean, making for a real west Coast invasion. Opera House, doors 8:30 p.m.

Charli XCX. Penning Icona Pop’s single “I Love It” last year was merely the warm-up for the Londoner’s own breakout. She’s been here warming up before, most recently holding her own ahead of Marina & the Diamonds last spring around the release of her stylish and sophisticated debut LP True Romance. Here’s your Saturday night dance-pop party with Charlotte Emma Aitchison’s headline gig here, rescheduled from its original Sept. 16 at the Hoxton. With complementary L.A. act Kitten. Wrongbar, doors 6 p.m.

James Blake. This is the Brit’s third trip into town in six months, which is a pretty heavy schedule and the luggage ought to be a little weightier as he brings the recently bestowed Mercury Prize stamp of approval for the standout release Overgrown. The sleek techno-R&B he favours can be chilly going at times, but it can also be highly seductive and very much of our splintered pop times. The big wild card here is the venue, its acoustic dead spots just waiting to blunt his soulful impact. Kool Haus, doors 8 p.m.

Christine Jensen. B.C. native turned Montrealer Jensen plays the sax, composes songs of big ideas and leads the big band. The 2011 debut release Treelines won a Juno and critical praise, and the follow-up Habitat, just out, continues the beat. She’ll split her time on the bandstand for this one, conducting and sitting in with Josh Grossman’s top-shelf 18-piece Toronto Jazz Orchestra — it’s their first time playing together — to give some of those LPs’ ideas a go, along with some new material. Pick of the week. The Rex, 9:30 p.m.

John Legend. The soul balladeer has in little more than a decade proved quite prolific, bouncing between the piano and the microphone, between collaborations and his own stuff, soundtrack work, activism, newly wed to model Chrissy Teigen, and with nine Grammys on his mantle. For this tour he’s been sprinkling the set with cuts from his first true solo LP in five years, Love in the Future, the older faves and some covers (Springsteen, Harold Melvin, Luther Vandross) in what should be a blissful night for the fans. Sony Centre, 7:30 p.m.

Reimagining Flamenco. A trio of international stars in Russian guitarist Grisha Goryachev, Toronto’s Serouj Kradjian on piano and, in her Canadian debut, Spanish cantaora Antonia Contreras combine for what should be a stirring contemporary take on classic flamenco. The highlight of the Soundstreams night figures to be Contreras singing the story of Manuel de Falla’s El amor brujo in its original 1915 chamber version, among a program that includes a new work by Quebec composer André Ristic. Trinity St. Paul’s Centre, 7 p.m.

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